Love in India

Director: Kaushik Mukherjee
Running time: 91 ’ - India, 2009

Director’s Bio
 

Kaushik Mukherjee, otherwise known as Q. is now 35 and he has worked in advertising for 12 years in India, Maldives and Sri Lanka. He directed hundred of commercials, winning various awards on the way. Then, inspired by the independent films of Europe and Japan, retired voluntarily and shifted trade and city. Back in Kolkata, Q started a progressive art house OVERDOSE, a production, design and music company. He now produces, writes, shoots and directs films.



Contact Director
 
Q
D681 LAKE GARDENS, KOLKATA
INDIA
Tel: +91 98317 53984
E-mail: q@overdosejoint.in


Festival-Screenings-Awards
 
 

Arte, Germany and France

 

YLE, Finland

 

SBS, Australia

 

Link TV, USA

 

NRK, Norway

 

Noga TV8, Israel

 

Hotdocs, Toronto

 

Asiaticafilmediale, Rome

 

Pornfilmfestival, Berlin

 

SAIFF, New York

 

3rd i, San Francisco



Filmography
 
2009 Love in india
2009 Bishh
2008 That Boy
2007 04 crows on the antennae
2007 Getting high, getting low
2004 Le pocha
2003 Tepantorer Maathe
2001 Bopping

Director: Kaushik Mukherjee

 

Producers: Pramod Mathur Overdose

 

Camera: Sunil Hojo Q

 

Edit: Nikon

 

Sound: Partha

 

Music: Indraadip

 

 

 


Synopsis
 

Love in India is a passionate look at the way passion is perceived in India. It’s a personal film, designed with fragments of the romance between the filmmaker and
his girlfriend. But soon, the film spills on to the chaos of India. New and old. Love and sex. A volatile story of confusion, dichotomy and revelation. A story of repressed moral values in a country with a timeless tradition of spiritual
sexuality. The search for the root of romance and the eternal orgasm.



World sales
 
HEINO DECKERT
CEO, DECKERT DISTRIBUTION GMBH
Deckert Distribution GmbH
Marienplatz 1
04103 Leipzig
GERMANY
+49 (0)341 215 66 38
+49 (0)341 215 66 39
E-mail: heino@majade.de
E-mail: info@deckert-distribution.com


Director’s Statement
 

I began to film Love in India to discover myself, and my society, in the context of love and sex. Instead of being the intellectual, observer filmmaker of the last generation, I wanted to turn the camera on myself. Because I realized that our objectivity was fragmented, and more often than not, coloured with our own morality. As a heterosexual male, I could not understand what women wanted. And neither did the women understand me. And I also understood, that violence and mistrust was the greater cause behind all the abuses.